Podbit · The Louis Theroux Podcast
Before modelling took off, Cara had a shot at a music career via Simon Fuller, the man behind the Spice Girls. He liked her songs but wanted to cut her hair, dye it green, and rename her Spike — or possibly Spark. She turned it down because music was too precious to hand over to someone else's vision. She always knew she'd do it, just not like that.
Where this was said
At 52:24 · chapter starts 52:10
The conversation pivots to the music itself. Louis describes the sonic territory: plaintive melodies colliding with industrial distortion, experimental and unpredictable — like The Tunnel, Cara offers. Co-produced with BJ Burton, who she describes as the architect of the sounds she had to occasionally pull back from (too much distortion). She writes alone and then collaborates in the studio. Then Louis surfaces a brilliant piece of music industry history: before modelling broke, Cara had a development deal with Simon Fuller, the man who managed the Spice Girls. He liked her songs but wanted to cut her hair, dye it green, and rename her either Spike or Spark. She turned it down. Music was always going to happen, just on her own terms. [1] — Cara Delevingne "Before modelling took off, Cara had a shot at a music career via Simon Fuller, the man behind the Spice Girls. He liked her songs but wante…" 52:24
Before modelling took off, Cara turned down a development deal with Simon Fuller — who managed the Spice Girls — because he wanted to cut her hair, dye it green, and rename her Spike or Spark.
Reggae didn't emerge from thin air — it was built layer by layer from mento in the 1940s, ska in the late 1950s, and rocksteady in the mid-1960s. Each stage absorbed new influences, from transistor radios picking up Miami R&B to the distinctive 2-and-4 rhythmic accent that defines the genre.
Before hip-hop existed, Jamaican DJs were already doing it. Electricity spreading across Jamaica enabled mobile 'sound systems,' and DJs developed toasting — speaking and singing over recorded music — a tradition that DJ Kool Herc brought from Kingston to the Bronx at age 12.
Joe Higgs is reggae's great unsung hero. This Kingston musician took teenage Bob Marley, Peter Tosh, and Bunny Wailer under his wing and taught them how to sing, write songs, and make music — at a time when most artists would have focused on their own careers. Without him, the Wailers probably just would have sucked.
Reggae archivist Roger Steffens' analogy says it all: Bob Marley was reggae's Martin Luther King Jr., making the music universally palatable; Peter Tosh was its Malcolm X, inserting fierce militant political energy. Together, they gave the Wailers a depth no single voice could achieve alone.
King Tubby built his own hardware from cast-off recording gear to strip vocals and create dubbed-out instrumental reggae — essentially inventing electronic music in Kingston before Kraftwerk did it in Germany. The dubplate he created became the raw material for DJs to toast over, seeding hip-hop.
Two days before the 1976 Smile Jamaica anti-violence concert, gunmen shot Bob Marley in the chest and shoulder, shot Rita Marley, and wounded two others. He showed up and played anyway. The concert had already drawn accusations that Marley was a tool of the PNP government — a charge that frustrated him deeply.
Peter Tosh's killer was a man Tosh had taken in after prison, giving him shelter and food. The man repaid that generosity by holding Tosh hostage, torturing him for money, and shooting him in the head. It is one of the most brutal betrayals in music history.
The Windrush Generation brought Caribbean music to London after World War II, and reggae's 2-and-4 rhythm lodged itself deep in British culture — giving birth to ska bands like The Specials, pop acts like UB40, and even punk. Johnny Rotten was a reggae fan, and Public Image Limited has the dub influence to prove it.
Reggaetón didn't come from nowhere. It emerged from underground Spanish-language reggae-rap scenes in Panama and Puerto Rico, drawing directly on Jamaican reggae's rhythms and attitude. The line from Kingston to Bad Bunny's Super Bowl performance is a straight one.
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